Essays, or discourses, vol. 2 (of 4)

by Benito Jerónimo Feijoo

XLII. For the same reason, I am against the introduction of violins into churches. St. Thomas, in the place I before cited, objects to the admitting any kind of instruments in the church; and the reason he gives for the objection is, that the sensible delight which the instrumental music occasions, hinders devotion. But it is not easy to reconcile this reasoning, with what the saint says in another place, to wit, that the delight perceived by the air, excites weak spirits to devotion; and he, in the same place, approves of the use of musical instruments in synagogues, because the Jews being a hard and carnal people, there is a necessity for having recourse to such means, to provoke and stir them to piety. At least then for people of this stamp, musical instruments in churches would be very serviceable; and there being a great many of that disposition who frequent churches; consequently, the instruments would be found exceedingly useful. Besides, I can’t comprehend, how the sensible delight which instrumental music occasions, should induce to devotion those who on account of their hardness are little disposed to it, and obstruct it in those whose hearts are more inclined to divine worship.

XLIII. I acknowledge and confess, that it is much more easy for me to misunderstand St. Thomas, than for St. Thomas to advance any thing that is wrong: but after all, the universal practice of the whole church authorizes the use of instruments; and the only difficulty or disagreement, seems to rest in the choice of them. I for my own part think, that violins are improper in that sacred theatre; their shrill notes, although harmonious, are still shrill, and excite a puerile vivacity in our spirits, very different from that decent attention, which is due to the majesty of mysteries; and especially in these times, when those who compose for violins, studiously write their music so high, that he who is to execute it, can scarce forbear striking the bridge of the instrument with his fingers.

XLIV. There are many other instruments much fitter to be used in churches than violins, their tones being much more respectful and grave; such as the harp, the violincello, and the harpsichord; neither would the inconvenience of the want of trebles in the instruments be felt, by leaving out the violins, but rather, the music by the omission would appear more majestic, which is what is most required in churches. The organ is an admirable instrument; or, to speak more properly, many instruments comprized in one. It is true, that the organists, when they are so disposed, can make a sort of pipe and tabor of it; and it is also true, that this disposition seems to come upon them pretty frequently.

SECT. XII.

XLV. It would not be foreign, but rather very consonant to the object of our present criticism, to say something in this place of the poetry, to which they give the epithet of divine, and which is composed to be sung in churches, I may without temerity, venture to pronounce, that poetry in Spain, is in a worse state of perdition than music. The number of those who write couplets is infinite, but none of them are poets. If I was to be asked, which are the most difficult of all arts, I should answer, medicine, poetry, and oratory: and if I was also to be asked, which are the most easy; I should answer, oratory, poetry, and medicine. There is no student, who, if he takes a fancy to it, does not write verses. All the religious who mount the pulpit, and all the doctors who have studied and practised physic, find their partizans: but where will you meet with the truly able physician, the compleat poet, or the perfect orator?

XLVI. Our most learned monk Don John de Mabillon, in his Treatise on Monastic Studies, says, that an excellent poet is a very rare treasure, and I agree with him in sentiment; for upon strict examination, where, among the numbers of poetical essays that are published, will you meet with any one, which (omitting many other requisite qualities) is natural, sublime, sweet and pointed; and at the same time, ingenious, and clear; brilliant without affectation, sonorous without turgidity, and harmonious without impropriety; that runs without hobbling, is delicate without affectation, forcible without harshness, beautiful without paint or strained colouring, noble without presumption, and copious and comprehensive without obscurity? I will almost venture to pronounce, that he who would find a poet capable of writing verses in this stile, should seek for him in the regions inhabited by the Phœnix.

XLVII. In Spain however, poetry is in so deplorable a state, that according to all appearances, it would be needless to search for such a one there. He who errs the least, with the exception of here and there a particular one, seems as if he studied how he should commit faults. All his care appears to be placed, in swelling the verse with irrational hyperboles, and pompous words; by which means, he produces a bloated, and confirmed dropsical poem, the sight of which turns your stomach, and the perusal fills you with melancholy. Those essential qualities, propriety and nature, without which, neither poetry or prose can ever be good, seem to have abandoned, and become fugitives from our compositions. Our authors don’t in their productions, appear to have hit upon that native splendor, which gives a brilliancy to their ideas, but rather, to have disfigured their best thoughts, with affected and bombast expressions; so that their original conceptions, may be compared to a fine woman that falls into indiscreet hands to be dressed and ornamented.

XLVIII. Thus much in general for modern Spanish poetry; but the worst is, that you hear these sort of compositions in the sacred canticles; which are often so bad, that it would be better, instead of them, to sing the couplets of blind men; because these seem to have a tendency to promote devout affections, and their rustic simplicity is in some degree the symptom of a good intention. All the gracefulness, or rather the attempt at displaying it, in the church canticles of these times, consists in low equivocations, trivial metaphors, and puerile changes and rechanges. The worst is, that they are entirely void of spirit, and not at all calculated to excite religious emotions, which are the principal, if not the only qualities required, and which ought to be sought after in such compositions. Don Antonio de Solis was without doubt a person of sublime genius, and one who well understood the excellencies of poetry. He exceeded all others, and even sometimes himself also, in painting the passions with such apt, close, and subtile expressions, that the descriptions of his pen seem to give you a clearer idea of, and make you better acquainted with them, than the knowledge which is gained by experience. But with all this, we in his small sacred tracts, perceive a strange falling-off; because in them, we don’t meet with that nobleness of thought, that delicacy of expression, and that stirring of the passions, which is frequent and common in his other Lyric Poems. This did not happen because he wanted genius or talents to write sacred compositions; for his dirges upon the conversion of St. Francisco de Borja, are some of the best things he ever exhibited, and perhaps the most sublime, which to this day have been composed in the Spanish language.

XLIX. I believe the badness of the composition of these couplets, called Letrillas, which are generally written for festivals, has proceeded from Solis, and other poets of ability, having looked upon them as trifles; though in reality, no other compositions require so much study or serious attention. What subjects can be more noble than those, where the eulogium of the saints and martyrs is sung, and the excellency of the divine attributes and mysteries, is represented and celebrated? These are the things, on which men of abilities, should exert the whole power of their genius and talents. What employment can be more worthy a man of shining parts, than that of painting the beauty of virtue in such amiable colours, as to make mankind in love with it; and representing the deformity of vice, in so striking a point of view, as to make the world abhor and detest it; and to contrive to praise God and his angels in such a way, as would stimulate people to a desire of imitation, and light up in their minds, the flame of adoration and worship? The grandeur of poetry, consists in that active persuasion, which the poet instills into the soul, and with which he moves the heart, to follow the course he would wish it should pursue. To write in this stile, says our Mabillon, speaking of poetry, is not children’s play; much less then, should sacred poetry be only fit to amuse infants; but after all, that which is sung in our churches is nothing better.

L. Even those, whose compositions are held in estimation, do no more, than provide and prepare the first light conceits that occur to them on the subject they are about to write upon; and although they have not in themselves, union with respect to time, or tendency to any design whatever, they distribute them in couplets, and notwithstanding one leads to Flanders, and another to Morocco, they introduce them into the context; and provided each couplet says something, for this is their explanation, although it is without life, spirit, or force; nay more, although it is without order, or direction to any determinate point or purpose, they say it is good composition; when, in truth, it no more deserves the name of a composition, than a heap of stones that of an edifice, or the throwing or huddling together a number of colours, that of a picture.